Jane MacRae, Author at Canadian Cinema Editors Les Monteurs et Monteuses de cinéma canadien » Page 2 of 3

In 2007 he was invited by Focal Press to write the Foreword for the second edition of The Technique of Film Editing, the book that had played such a central role in his life as an editor. He describes this as one of the proudest moments in his life along with receiving a Lifetime Achievement Award from the CCE. Alan Collins was born in India and grew up in the UK where he studied Drama and Film at Bristol University. He was inspired to become a film editor after viewing Battleship Potemkin by Sergei Eisenstein and reading the bible of the edit room, The Technique of Film Editing (K. Reisz, G. Lambert) in 1967.

King Street West, Toronto

• She has a passion for storytelling and has cut a wide range of documentaries, corporate videos, television programs, and full length feature films.
• Amy started as an Assistant Editor on films like MY OWN PRIVATE IDAHO, CORRINA, CORRINA, and TO DIE FOR.
• Roslyn’s passion for editing began in Montreal, where she studied Film and Screenwriting at McGill University.
• Stephen is honoured to serve as CCE President and help the CCE advocate for editors across Canada.
• The editors of some of the most binge-worthy shows reflect on how their work landed in this time and place, what the stories meant to audiences, and how that affected their process during a pandemic.
• Morsi’s short films scripts LIPSTICK, CHECK POINT & MANGO were named finalists for Robert Bosch Film Fund in 2013, 2014 and 2015 (affiliate with the Berlin Film Festival).
• She has earned CCE and DGC Nominations for her editing in the categories of documentary, TV Movie and Mini-Series.
• Animation editor Merissa Tse shares her wisdom and experience of what makes a good assistant editor in the field of animation.
• The Conference offers screen ­based industry professionals an advanced level of education and skills development unparalleled by any other screenwriting event in the country.

Join panelists Matthew Hannam, Stephen Philipson, and Andrew Coutts  as they discuss the ups and downs of working in the US. As the Canadian and American film industries become more intertwined, what challenges and opportunities arise for Canadian editors wishing to work south of the border? For those who wish to remain in the land of Mounties and free medicare, what can we learn from our American editor friends? This panel will examine the creative and practical concerns of working down there versus working up here. With an unconventional background in stage performance, music and sound, which she uses to enhance her storytelling techniques. A leica reel and offline editor of many hit shows including Johnny Test,  Busytown Mysteries, Justin Time and Total DramaRama.

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To qualify for the Telefilm Canada New Voices Award, candidates must have written at least two short films one of which has been produced, and have written one feature length screenplay, TV pilot or series treatment. They must not have previously produced a feature or TV series/pilot, nor received Telefilm Canada Funding. George cut many of Canada’s iconic series and feature films, from Adventures in Rainbow Country, Street Legal, and Cold Squad to Outrageous, The Silent Partner, Isabel, and many others.

Panel #4: Behind the Cut with Ron Sanders, CCE

Sarah Taylor is award-winning editor with over eighteen years of experience. She has a passion for storytelling and has cut a wide range of documentaries, corporate videos, television programs, and full length feature films. She is a member of the Directors Guild of Canada (DGC) and is the host of the CCE podcast The Editor’s Cut. Projects like War Witch, Maelstrom or The Pillars of the Earth have garnered awards and nominations at the Oscars, the Golden Globes, and throughout the world in major film festivals like TIFF, Cannes, or Berlin. He’s worked with some of the finest filmmakers in Quebec, like Denis Villeneuve, Philippe Falardeau, Kim Nguyen, and Louise Archambault. She began her career in unscripted television on iconic and Emmy-winning shows such as TOP CHEF and PROJECT RUNWAY.

Isabelle Malenfant, CCE

After editing 13 features and numerous documentaries he began teaching Film Editing at Ryerson University in Toronto from 1994 to 2006, just as the industry was shifting from flatbed editing to digital editing. Ron has worked with directors including, Robert Longo, Daniel Petrie Jr., Sturla Gunnarson, Norman Jewison, and Henry Sellick. He collaborated with David Cronenberg on 19 films winning Genie Awards for Dead Ringers (1989), Crash (1996), eXistenZ (2000) and Eastern Promises (2007) and DGC Awards for A History of Violence (2006), Eastern Promises (2008) and A Dangerous Method (2012). He was nominated for an American Cinema Editors Award for his work on Coraline (2010).

• Some of his recent editing credits include ANOTHER LIFE, RANSOM, INTO THE BADLANDS, DARK MATTER and LOST GIRL.
• Her feature film credits include collaborations with directors Stella Meghie (THE WEEKEND, THE PHOTOGRAPH), and Ali LeRoi (THE OBITUARY OF TUNDE JOHNSON).
• The past year has brought our lives no shortage of fear-inducing moments, and yet films that offer us frights continue to be one of our greatest escapes.
• He was promoted to Editor in Charge at age 27 and a year later to Assistant Supervising Editor in charge of the day to day running of the Film Department.
• BAYLINE is her 2nd documentary short funded via the MTS STORIES FROM HOME Broadcaster.
• Mike began his career with the Toronto New Wave, editing features for Bruce McDonald (Roadkill), Srinivas Krishna (Masala and Lulu) and Peter Mettler (Tectonic Plates; Picture of Light).
• EditCon 2019 took place on Saturday February 2, 2019 at the TIFF Bell Lightbox in Toronto.

Chris Coulter

Bellevue, starring Anna Paquin, is screening on WGN America at the moment another series that Teresa edited and got to co-produce. Prior work includes award nominated series; 19-2, Bomb Girls, Camelot and the influential Durham County. Teresa is very excited to be part of the industry at a time when the boundaries of TV storytelling are being pushed like never before- it truly is the Golden Age.

The 3rd Annual CCE Awards Nominees & Winners

Her work is broad-ranging, from intimate autobiographies to forays into Science Fiction. Anx (The Cave), an adaptation of a Tsilhqot’in story was named to Canada’s Top Ten Shorts by TIFF and was an Official Selection at Sundance Film Festival. My Legacy, her first feature documentary, focuses on the transformation and healing of intergenerational trauma to trust, worth, intimacy and love. Her work has aired on APTN, CBC, Knowledge, NITV (Australia) and has been showcased around the world at film festivals such as Berlinale, Rotterdam and Sundance. Michèle’ short documentary, The Barber of Augusta just recently won the Dodie Spittal Award at 2017 The Picture This Film Festival.

Chris Mutton

Raised on Star Trek, Justin’s original plan was to push flashy buttons on a starship as an actor. Fortunately, he found his calling pushing colourful keyboard buttons in a dark room. His work has been seen ‘round the world in festivals such as Sundance, Berlinale, SXSW, TIFF, and most recently on HBO with the Emmy winning mini-series Big Little Lies. Roslyn’s recent drama series include Haven, Hemlock Grove, Ten Days in the Valley, and Mary Kills People. Roslyn’s passion for editing began in Montreal, where she studied Film and Screenwriting at McGill University.

Thank you to our CCE staff:

As long-time editor for critically-acclaimed director Francis Leclerc, she worked on the popular sitcom Les beaux malaises, the dramatic series Marche à l’ombre, and Mon meilleur ami and the poetic short Trotteur, amongst others. Their latest collaboration, the feature film Pieds nus dans l’aube, is an adaptation of Félix Leclerc’s autobiographical novel of the same name. Over the years, she has also collaborated with directors François Jaros, Philippe Gagnon, Quentin Dupieux (a.k.a. Mr Oizo), Olivier Asselin and Mélanie Charbonneau.

Panel #2: Frame by Frame – A primer on Animation editing

• Known for her comedic and musical timing, Lesley has recently been working on feature animations The Nut Job 2 and soon-to-be-released Arctic Dogs.
• He collaborated with David Cronenberg on 19 films winning Genie Awards for Dead Ringers (1989), Crash (1996), eXistenZ (2000) and Eastern Promises (2007) and DGC Awards for A History of Violence (2006), Eastern Promises (2008) and A Dangerous Method (2012).
• In 2018 he wrote and edited TO WENDY WHO KICKED ME WHEN I SAID I LOVE YOU, an off- beat, romantic short film which premiered at the London Film Festival.
• Since 1995, Lisa has been nominated for 18 film awards and has brought home eight, including four DGC Awards, three CCE’s and a Gemini.
• Unarmed Verses and Sgaaway K’uuna (Edge of the Knife) are films that have intertwined themes of social justice into compelling stories, bringing important social messages to the screen in their respective genres of narrative and documentary film.
• Michèle’ short documentary, The Barber of Augusta film just recently won the Dodie Spittal Award at 2017 The Picture This Film Festival.

Tucked away in a cabin in the woods, Geoffrey Boulangé and Sophie Deraspe set about editing the award winning film, ANTIGONE. In this session Geoffrey Boulangé discusses the processes that went into editing the film; including cutting while shooting; working in FCPX, and co-editing with director Sophie Deraspe. In 1975 Ralph went freelance and focused on drama editing, amassing a large list of credits on over 50 television movies, 16 features, 13 mini-series and multiple TV series. His commitment to excellence in the craft of editing has earned him multiple nominations and awards over the years, including Best Sound and Best Picture Editing Awards the first year of the Geminis, and an Emmy nomination for Joan of Arc. He was promoted to Editor in Charge at age 27 and a year later to Assistant Supervising Editor in charge of the day to day running of the Film Department. He had the great pleasure of working with Glenn Gould on the soundtrack of the legendary documentary The Idea of North.

Multitalented moderator Sook-Yin Lee sits with Oscar-nominated editor Jinmo Yang, ACE for an in-depth conversation about the craft of Picture Editing. Laura Zempel grew up in Sacramento, CA and received a BFA in Film Production from Chapman University. She began her career in Film and TV as an assistant editor on DEXTER, and has gone on to edit HBO’s ROOM 104, EUPHORIA, and most recently AMC’s DISPATCHES FROM ELSEWHERE. As the world settled into lockdown, TV entertainment went from distraction to lifeline. With audiences trying to make sense of world events, stories and characters matter more than ever. As the entertainment landscape shifts to meet an unprecedented need for engaging content delivered on-demand to an audience stuck at home, how will this change the stories we tell, and the way we tell them?

Originally from Quebec, she has worked on both French and English productions including television series, films and commercials. REEM MORSI – Reem Morsi had a career of professional scuba diving, human rights till becoming a writer/director. Morsi’s film credits include THEIR FEAST (Cannes Short Film Corner, TIFF, BBC, Cine Sud), NOSTALGIA (WIFT 2015), among others. Morsi received a scriptwriting grant for her feature film BOOTLEG, March 2016. Her short film BOOTLEG won best Canadian short in London and is also competing at other festivals. Morsi won first place for SHOW & TELL at the WIFT/BravoFact pitch competition 2016.

TSC Announces New Voices Awards

Since then, Paul has also edited the feature animated films Spark and The Nut Job 2. Unarmed Verses and Sgaaway K’uuna (Edge of the Knife) are films that have intertwined themes of social justice into compelling stories, bringing important social messages to the screen in their respective genres of narrative and documentary film. Meet the Editor / Director / Producer duos behind both of these films to discuss the process of collaboration, sensitivity approaching the subject matter, and what each role contributes to the crafting of a powerful narrative.

Christine Armstrong is an editor who has worked on a variety of short films, tv series, commercials and feature films in the US and Canada. She is an alumni of Cineplex Entertainment Film Program Editor’s Lab at the Canadian Film Centre. His career started in the writers room and as editor on the surreal comedy series CAMPUS. Recent work includes I MAY DESTROY YOU, SALLY4EVER, LOVE WEDDING REPEAT, and the upcoming FROM DEVIL’S BREATH, directed by Orlando von Einsiedel (VIRUNGA/THE WHITE HELMETS).

She spent 3 years as the resident editor at the Banff Centre for the Arts and is a graduate of the The Canadian Film Centre. Her credits at Cinepix included Bill Fruet’s Death Weekend, Eddie Matalon’s Blackout, Ivan Reitman’s Meatballs, Larry Kent’s Yesterday and J. The panel will examine the editor’s contribution in creating original, provocative mgm market link and beautifully made television. Some prizes included a Hard Drive, Copies of Art of the Cut (Steve Hullfish the author was even in attendance to sign the copies!), a copy of Avid Media Composer and subscriptions to various Boris FX programs. EditCon 2019 took place on Saturday February 2, 2019 at the TIFF Bell Lightbox in Toronto.

Panel #1: Making a difference – Cutting content with an important social message

Since moving to Los Angeles, Inbal has edited hundreds of hours of non-scripted network and cable television shows. She was also a Visiting Professor at UNCSA Film School, and a mentor in the Karen Schmeer Diversity in the Edit Room Program. Over the course of her career, Inbal has worked in the cutting rooms of directors such as Davis Guggenheim (Teach), R.J. Cutler (“American Candidate”), Kief Davidson and Daniel Junge (A Lego Brickumentary), Jeremy Simmons (“Transgeneration”), Tracy Droz Tragos (Be Good, Smile Pretty) as well as Natalie Portman’s feature directorial debut (A Tale of Love and Darkness).

• Michèle’ short documentary, The Barber of Augusta just recently won the Dodie Spittal Award at 2017 The Picture This Film Festival.
• Editor Christopher Malanchen shares some tips, tricks and best practices that he learned from editing on Vice’s THE DEVIL YOU KNOW (Season 2) and Cooking Channel’s BITCHIN’ KITCHEN and from his tenure as the VFX Editor for BIG LITTLE LIES (Season 2).
• She is an alumni of Cineplex Entertainment Film Program Editor’s Lab at the Canadian Film Centre.
• Her short film BOOTLEG won best Canadian short in London and is also competing at other festivals.
• JJ is currently working on EagleVisions’s ‘TAKEN’ Season 2 as a Director for 2 episodes.
• Julio C. Perez, IV lives and works in Los Angeles, editing in both narrative and documentary.
• Her work is broad-ranging, from intimate autobiographies to forays into Science Fiction.
• With a background in theatre, Malenfant is an editor with a passion for bringing out an actor’s talents and crafting their best performance.